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The Most Dangerous Game (1932) (aka The Hounds of Zaroff)
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The scene of the flight of big-game
hunter Bob Rainsford (Joel McCrea) and Eve Trowbridge (Fay Wray) into the
misty jungle, as they are hunted and pursued by a vicious, bloodthirsty
pack of Great Dane hounds sent after them by mad Russian Count Zaroff (Leslie
Banks), in co-directors Irving Pichel Ernest B. Schoedsack's adventure chase-thriller |
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Moulin Rouge (2001)
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The scene of the star attraction of the Moulin Rouge Satine
(Oscar-nominated Nicole Kidman) swinging above an audience of top-hatted
gentlemen, and the scenes between the smitten lovers: tuberculosis-afflicted
courtesan Satine and the penniless but lovelorn writer/poet Christian
(Ewan McGregor) in an ultimately-doomed love affair -- singing the "Elephant
Love Medley" (featuring over a half-dozen love songs) on a Parisian
rooftop under a heavenly blue sky, and the scene of Satine's death from
tuberculosis, in Baz Luhrmann's dazzlingly colorful and kinetic modern
musical set in 1900 Paris - the first Best Picture-nominated musical since
Beauty and the Beast (1991) and first non-animated musical since
Cabaret (1972)
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Mrs. Miniver (1942)
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The dramatic footage of the night-time Dunkirk evacuation,
also the tense scene of middle-class Englishwoman Mrs. Kay Miniver's (Oscar-winning
Greer Garson) encounter with a downed and escaped wounded German flier
who holds her at gunpoint in her house and demands food and clothing before
collapsing; and the scene of husband Clem Miniver's (Oscar-nominated Walter
Pidgeon) return home after the evacuation and his reunion with his wife;
and the scene of the couple in a bomb shelter reading Alice in Wonderland
to her children during a terrifying Nazi air bombing - as they both shield
the frightened and crying children, and the final scene that includes
the powerful and moving, dynamic speech delivered by the town's vicar
(Henry Wilcoxon) ("This is the people's war! It is our war! We are
the fighters! Fight it then! Fight it with all that is in us, and may
God defend the right!") and the singing of "Onward Christian Soldiers"
in the bombed-out ruin of a church, in director William Wyler's Best Picture-winning
war drama |
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Mulan (1998)
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The scene in which young Mulan
(voice of Ming-Na Wen) decides to take her father Fa Zhou's (voice of Soon-Tek
Oh) place in the war against the Mongols as his disguised "son"
Ping in order to save her family's honor; the conversion of an incense burner
into the 18 inch high, wise-cracking sidekick dragon Mushu (voice of Eddie
Murphy, who would later voice the similar character of Donkey in Shrek
(2001)) to join Mulan; the scene in which Mulan cunningly causes an
avalanche with a rocket to wipe out the Mongol army, and the scene in which
thousands of people in Shanghai bow in thanks for saving the Emperor of
China (voice of Pat Morita), in Disney's animated adaptation of the Chinese
folk fable of Mulan |
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Mulholland Dr. (2001)
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The twisting and turning dual characterizations of the two female protagonists:
dark-haired brunette, full-bodied amnesiac and femme fatale Rita/Camilla Rhodes
(Laura Elena Harring) and wholesome, pert blonde ingenue Betty Elms/Diane Selwyn (Naomi
Watts) in the film's first half - it was basically Diane's romanticized dream sequence (later learned) in which she imagined herself as successful blonde ingenue and wannabe LA actress-newcomer Betty - ending when a blue box found in Betty's purse was opened with a blue key that a now-blonde Rita found in her purse (after Betty disappeared)
-- a clue that the two identities of Betty and Rita were somehow integrally inter-connected; also the creepy but masterfully-acted audition scene in which naive wannabe
starlet Betty performs a sexually-tainted script with a tanned and aging
lothario Jimmy 'Woody' Katz (Chad Everett) - when she whispers into his
ear and bites his lip ("I hate you. I hate us both"); the two memorable, hesitant and exploratory lesbian love scenes between Betty and Rita, and
the scene
of Betty remaking Rita to look more like her as a blonde in order to be transformed into her
ideal; the very strange scene in the nightclub called Club Silencio in which Rebekah Del Rio (as Herself) sang a Spanish version of Roy Orbison's "Crying"; and
the mysterious blue 'Pandora's' box with a blue key that signified the break between the first part's dream and the second part's reality (including Diane's suicidal death), in Best Director-nominated
David Lynch's surreal, mystifying, mind-twisting, dream-like modern noir
about Hollywood fame |
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The Mummy (1932)
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The awakening and coming to life
of the Mummy - Egyptian high priest Im-ho-tep (Boris Karloff in his second
horror starring role), in director Karl Freund's classic horror film |
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The Muppet Movie (1979)
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The film's deliberately cheesy puns and jokes (i.e. the
literal fork in the road) and the astonishing puppetry featuring such
tricks as Kermit the Frog (voice of Jim Henson) riding a bicycle without
any visible means of support; the enchanting opening (a film-within-a-film)
that tells of the origins of Kermit in the swamp and the image of Kermit
strumming a banjo and singing the Oscar-nominated "The Rainbow Connection";
all the friendships formed between Kermit and the other bizarre Muppet
cast of characters met along the way including the unfunny, clownish Fozzie
the Bear (voice of Frank Oz), the silly, chicken-loving Great Gonzo (voice
of Dave Goelz), the vain, preening and explosively violent Miss Piggy
(also Oz) who carries a romantic torch for Kermit, and pianist Rowlf the
Dog (also Henson) who sings a duet with Kermit: "I Hope That Something
Better Comes Along"; with over a dozen celebrity cameos from Hollywood's
Golden Age through to hip comedians and actors of the time, including
ventriloquist Edgar Bergen (who died shortly after his scene was filmed
and to whom the film was dedicated) and his dummy Charlie McCarthy, the
brilliantly funny Steve Martin as a sarcastic waiter, the insane German-accented
Professor Max Krassman (Mel Brooks), Gonzo's sweetly sung "I'm Going
to Go Back There Someday" while the gang is stranded in the desert
at night; the magical conversation Kermit has literally with himself:
("Well, then...I guess I was wrong when I said I never promised anyone.
I promised me..."), the deus ex machina ending when Animal
grows to giant size after swallowing InstaGrow pills and scares off the
villainous Doc Hopper (Charles Durning); Orson Welles' cameo appearance
as Lew Lord, who tells his secretary (Cloris Leachman): "Miss Tracy,
prepare the standard 'rich-and-famous' contract for Kermit the Frog and
company"; the climax when a rainbow bursts through the studio set
ceiling, and the entire Muppet cast sings a reprise of "The Rainbow
Connection" ("Life's like a movie, write your own ending, keep
believing, keep pretending, we did what we set out to do...") - interrupted
when Sweetums (voice of Richard Hunt) bursts through the film into the
theater where the rest of the Muppet cast is screening the film ("I
just KNEW I'd catch up to you guys!"); also the end credits antics
of the Muppets, concluding with Animal telling the audience: "Go
home! Go home! Bye-bye!", in director James Frawley's great children's
film |
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Murder, My Sweet (1944), (aka Farewell, My Lovely)
|
The opening shot of a blinding ceiling light and sounds
of accusatory voices, and then a pull-back camera to the side of detective
Philip Marlowe (Dick Powell), with bandaged eyes as he is interrogated
by police and then begins to relate his story - in flashback; the brooding
appearance of a figure in Marlowe's office windowpane (flashing city lights
reflect onto the face of brutish Moose Malloy (Mike Mazurki) standing
behind him in the darkness); the two amusing instances when Marlowe strikes
his match on a marble Cupid's back-end, and when he plays hopskotch (recalling
Powell's days as a dancer) on the black/white checkered-tiled floor of
millionaire Mr. Grayle's (Miles Mander) mansion; the memorable narrated
dialogue ("I caught the blackjack behind my ear. A black pool opened
up at my feet. It had no bottom"); and the nightmare ("a crazy,
coked-up dream") he experiences when pursued through a series of
identical doors by a doctor with a giant hypodermic needle - and further
scenes of his drug-induced hallucinations; also the final shoot-out in
the Grayles' beachhouse, where mysterious, flirtatious, gold-digging double-identity,
femme fatale vamp Mrs. Helen Grayle/Velma Valento (Claire Trevor),
who had set up numerous individuals over the theft of jade jewelry, is
killed by her husband (who in turn kills and is killed by Moose - who
had already murdered underworld kingpin Jules Amthor (Otto Kruger)), in
director Edward Dmytryk's film noir detective classic |
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Murmur of the Heart (1971, Fr/It/W.Ger.) (aka Le Souffle
Au Coeur)
|
The sensitively-rendered scene of incestuous
love between 14 year old Laurent Chevalier (Benoit Ferreux) and his mother
Clara (Lea Massari), in director Louis Malle's controversial examination
of desire and love |
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The Music Box (1932)
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The scenes of Stan (Stan Laurel)
and Ollie (Oliver Hardy) laboriously moving an uncooperative crated upright piano up a steep set
of stairs to a house; it continually wanted to find its way to the bottom of the steps, although they were eventually able to hoist it up using a block and tackle into the second story window; they encountered an angry customer (The Professor played by Billy Gilbert), an irate cop (Sam Lufkin), a curious postman (Charlie Hall) and a sassy Nursemaid (Lilyan Irene) with a baby carriage who asked
to pass - when the two obliged and moved aside, the piano bounced back down the
steps; when she chuckled, Stan kicked her backside, and she retaliated with
a punch to the face - then, when Ollie laughed, she smashed a large baby bottle
on his head, in this short, 29-minute Oscar-winning Best Short film from director James Parrott |
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Mutiny On the Bounty (1935)
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The character of tyrannical Captain
Bligh (Charles Laughton) ordering floggings, keelhaulings and other cruel
disciplines, and his oft-repeated call: "Mr. Christian!"; Fletcher
Christian's (Clark Gable) love scene with native girl Maimiti in the jungle;
the famous confrontational mutiny scene when Christian decides to rebel
- and Captain Bligh is forced into a small boat with limited supplies where
he threatens: ("I'll live to see you - all of ya - hanging from the
highest yardarm in the British fleet"); and Roger Byam's (Franchot
Tone) stirring speech at his court-martial trial in England in the conclusion
("These men don't ask for comfort. They don't ask for safety...They
ask only (for) the freedom that England expects for every man. If one man
among you believed that - one man! - he could command the fleets of England.
He could sweep the seas for England if he called his men to their duty,
not by flaying their backs but by lifting their hearts - their..., that's
all"), in Frank Lloyd's Best Picture-winning historical seafaring drama
based on the novel by Nordhoff and Hall |
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My Darling Clementine (1946)
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The early scene of Wyatt Earp's
haircut (Henry Fonda) interrupted by a shooting outdoors by drunken Indian
Charlie, Wyatt's visit to brother James' grave after he was killed by the
Clantons; Wyatt balancing himself on the two hind legs of his chair on the
porch in Tombstone; the scene of a half-drunk Shakespearean actor (Alan
Mowbray) humiliated and forced to deliver the famous Hamlet soliloquy atop
a saloon table, the town's open-air dance social with Earp majestically
escorting schoolteacher Clementine (Cathy Downs) there to dance, the historic
OK Corral shootout climax against the Clantons led by Old Man Clanton (Walter
Brennan) when Doc Holliday's (Victor Mature) affliction weakens him and
makes him vulnerable, and at film's end -- Earp's goodbye to Clementine
("Ma'am, I sure like that name - Clementine") before riding off
away from the camera toward the rock monuments in the distance in the last
image, in John Ford's western classic |
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My Fair Lady (1964)
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Arrogant linguistic professor Henry
Higgins (Oscar-winning Rex Harrison) with tremendous style and wit as
he both talks-sings his lines, and Eliza Doolittle's (Audrey Hepburn)
poignant transformation from a waif to a well-dressed and refined lady
with proper diction; Eliza's initial reaction to Higgins' proposition:
"I'm a good girl, I am!", and her reconsideration of his offer
by singing: "Wouldn't It Be Loverly?"; Eliza's vengeful fantasy
song "Just You Wait", and the joyous celebration when she finally
makes a real breakthrough, singing "The Rain In Spain/I Think She's
Got It"; the Ascot races scene when Eliza's
dignified English lapses into colorful street language ("Done her in")
- and it is humorously interpreted as the "new small talk," and her yell
at a faltering horse: "Move yer bloomin' arse!"; also her descent down
the staircase in a beautiful gown; Eliza's successful attendance at the
ball when socialite Freddy Eynsford-Hill's (Jeremy Brett) becomes infatuated
with Eliza, singing "On the Street Where You Live" (and Eliza's
later, frustrated sung response "Show Me" ("...Tell me
no dreams filled with desire. If you're on fire, show me!..."); Eliza's
tell-off of Higgins, singing "Without You" ("There'll be
spring every year without you. England still will be here without you"),
Higgins' spiteful rejection of Eliza while walking home, and his slow
realization song/speech: "I've grown accostomed to her face...She
almost makes the day begin...", and the film's
contrary, misogynistic closing line by Higgins: "Where the devil
are my slippers?", in George Cukor's Best Picture-winning screen
musical (from the Lerner & Loewe Broadway play of George Bernard Shaw's
Pygmalion) |
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My Left Foot (1989)
|
The character of disabled working-class Dubliner
Christy Brown (Oscar-winning Daniel Day-Lewis) - a gifted painter and writer
in spite of his affliction with cerebral palsy; the opening scene just before
adult Christy is to receive an award at a benefit and his request of a reluctant
nurse to provide him with a light for his cigarette - and his tirade: "I
didn't ask for a f--king psychological lecture. I only asked for a f--king
light"; the moving scene in his childhood when young Christy (Hugh
O'Conor) painfully scratches the word MOTHER on the parlor floor with a
piece of chalk wedged between his toes, and the scene in which he struggles
to get down the stairs to save his unconscious mother (Brenda Fricker),
and the scenes of his participation in soccer and other games with his peers
- often carted around in a wooden wheelbarrow; and the devastating heartbreaking
scene in a restaurant when a drunken, angry and hurt Christy reacts (with
a blurted out "Con-grat-u-lations") to news that his love interest
- his speech therapy teacher Dr. Eileen Cole (Fiona Shaw) - has become engaged
to someone else; and Christy's tortured suicidal attempt with a razor held
between his toes, in Jim Sheridan's biopic based on Brown's autobiography |
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My Little Chickadee (1940)
|
The few classic scenes between Flower Belle Lee (Mae West)
and con-man/husband of convenience Cuthbert J. Twillie (W. C. Fields)
in their only film together, and his best lines: (1) when told that there
is nothing good about Flower Belle by prudish Mrs. Gideon (Margaret Hamilton),
he responds: "I can see what's good. Tell me the rest" (2) holding and
kissing her hand on the train, he exclaims: "What symmetrical digits!"
(3) and Twillie's proposal of marriage: "Will you take me?"
and Flower Belle's reply as she rolls her eyes: "I'll take you, and
how" - and the scene of their phony sham marriage aboard the train;
also Flower Belle's assurance that she will be a good schoolmarm teaching
math: "I was always good at figures"; also her famous line to
two suitors: "Any time you got nothin' to do and lots of time to
do it, come up"; and Twillie's last line to Flower Belle as he leaves
town to attend to his "hair" oil wells: "...you must come
up and see me sometime" and the camera's last image -- Flower Belle
sashaying her bottom as she ascends the stairs, in Edward Cline's western
comedy |
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My Man Godfrey (1936)
|
The famous scene of Carlo (Mischa
Auer) imitating a monkey, and the bathroom scene in which "forgotten man"
Godfrey Parke (William Powell) tosses spoiled, swooning socialite Irene
Bullock (Carole Lombard) under the shower fully clothed, in director Gregory
La Cava's landmark sophisticated screwball comedy |
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Mystic River (2003)
|
The scene of disturbed, violated, and haunted Dave Boyle (Oscar-winning Best Supporting Actor Tim Robbins) with his young son Michael (Cayden Boyd) remembering an incident 25 years earlier when he was a young boy (Cameron Bowen) and ordered to "Get in" a car -- during an abduction by two pedophiles (who assaulted him over a 4-day period in a cellar after driving him away in the back seat of a black Ford sedan); also the scene of grieving ex-con and corner patriarchal grocery-store owner Jimmy Markum (Oscar-winning Best Actor Sean Penn) learning of the discovery of a body in the local park - belonging to his 19 year-old daughter Katie (Emmy Rossum) and screaming out to Massachusetts State homicide detective Sean Devine (Kevin Bacon) as he was restrained: "Sean, is that my daughter in there?!"; also the powerfully-acted scene of Jimmy on the back porch with Dave struggling to grieve and let go with his wrenching tears over the hurtful loss of Katie (Jimmy: "There's one thing you could say about Katie even when she was little. That girl was neat...I loved her..most....And it's really starting to piss me off, Dave, because I can't cry for her. My own little daughter, and I can't even cry for her." Dave: "Jimmy. You're crying now." Jimmy: "Yeah, damn. I just want to hug her one more time. She was 19 f--king years old"); also the scene of an emotionally-scarred Dave with his untrusting, panicked wife Celeste (Marcia Gay Harden) when he recalled his childhood's 4-day abuse and felt like an undead vampire ("Maybe one day you wake up and you forget what it's like to be human...Dave's dead. I don't know who came out of that cellar, but it sure as shit wasn't Dave...It's like vampires. Once it's in you, it stays..."); and shortly afterwards, the scene of a tormented Celeste telling Jimmy that she suspected her husband as the killer (although Dave claimed he beat up a pedophile behind McGill's bar the same night that Katie died); also the scene of Jimmy forcing Dave to falsely admit that he killed Katie by repeatedly demanding: "Admit what you did, Dave, and I'll let you live" - before stabbing him and finishing him off with a gunshot to the head and throwing his body in the Mystic River; and the next scene, the following day when Sean told Jimmy that they had found the real killers in the case, with Jimmy's reaction: "If only you had been a little faster" and Sean's observation: "Sometimes I think, I think all three of us got in that car...The reality is we're still 11 year old boys locked in a cellar imagining what our lives would have been if we'd escaped" - with the ending superimposed shot of the concrete sidewalk with the three boys' names permanently carved into it and views of the Mystic River and the Tobin Bridge, in Clint Eastwood's intense adult crime drama |
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The Naked City (1948)
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The opening scene with aerial views of New York City -
accompanied by narration from the film's producer, journalist Mark Hellinger (who conducted six months of interviews with the NYPD to gather accurate details and characterizations);
the manhunt for the brutal murderer of attractive, and promiscuous 26
year-old blonde fashion model Jean Dexter by veteran cop Det. Lt. Dan
Muldoon (Barry Fitzgerald) and partner Det. Jimmy Halloran (Don Taylor);
the emotional sequence at the City Morgue when Jean's parents - the Batorys
(Adelaide Klein and Grover Burgess) identify her body; and the film's
memorable, thrilling, and heart-pounding climax in which wounded murder suspect Willie
Garzah (aka Willie the Harmonica) (Ted de Corsia) runs through the Lower
East Side tenements until being cornered on the Williamsburg Bridge where
he climbs to the top of the bridge tower - and falls to his death, in
director Jules Dassin's hard-boiled urban docu-drama crime/noir film -
this was the first studio feature shot on location in New York City -
and the film that inspired the 50's ABC-TV series - with its famed ending
quote delivered by Hellinger as an epitaph for the murdered woman: "There
Are EIGHT MILLION Stories In The Naked City - This Has Been ONE Of Them" |
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The Naked Gun: From the Files of Police Squad! (1988)
|
The many insanely silly scenes and dead-panned jokes,
including the opening of a speeding LA cop car (shot behind the revolving
cherry-top) down nighttime streets, into a carwash, and then barreling
into a house - and a shower with naked women - and then down a rollercoaster
before coming to a stop in front of a donut shop; the scene of hapless
crimefighter and lawman Lt. Frank Drebin's (Leslie Nielsen) visit to hospitalized
and badly-wounded Det. Nordberg (O. J. Simpson) in his bed - and causing
his bed to fold up on him, and making insensitive comments to his wife
Wilma (Susan Beaublan) ("I wouldn't wait until the last minute to
fill out those organ donor cards"); Drebin's famous line of dialogue
and double-entendre statement when Jane Spencer (Priscilla Presley)
climbs a ladder: "Nice beaver!" to which a stuffed beaver is
produced ("Thank you, I just had it stuffed") and the scene
of having safe sex with her with complete body condoms; the look-alike
Queen Elizabeth II character - whom an embarrassed Drebin ends up falling
on; and the scenes at the ballgame with Drebin's awkward singing of the
national anthem while impersonating opera singer Enrico Pallazzo, and
the final scene at the top of the baseball stadium when Drebin slaps the
back of recuperating, wheel-chaired partner Nordberg, sending him down
the stadium steps and flipping him 360 degrees to the field below, in
co-directors Zucker, Abrahams, and Proft's gag-filled comedy |
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The Naked Kiss (1964)
|
The violent opening scene of bald-headed call-girl Kelly
(Constance Towers) beating her pimp with her handbag and spiked high-heeled
shoes, taking $75 cash that belongs to her, adjusting her wig and makeup,
and starting a new life in the suburban community of Grantville where
she works as a pediatric nurse at an orphanage for handicapped children
- with the outrageous musical number that Kelly sings to disabled kids
on crutches; and then later the reformed prostitute's learning of the
perverted hypocrisy of her bachelor fiancee J. L. Grant (Michael Dante)
- the most respected and wealthy citizen of the community who is actually
a 'child molester' - leading to his accidental killing by being bashed
with a phone receiver, in writer/director Sam Fuller's unorthodox, bold
and raw, feminist B-film and sordid melodrama - a treatise about the abuse
and exploitation of women by perverse men and women |
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|
The Naked Prey (1966)
|
The excruciating scene of the torture and
execution of members of an ivory hunting expedition by African tribesmen,
and the amazing race-for-his-life chase scene by the naked and unarmed safari
tour leader/guide (Cornel Wilde) as six tribe warriors give him a head start
of 100 yards into the bush, in this adventure/chase film co-directed by
Cornel Wilde and Sven Persson |
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|
The Naked Spur (1953)
|
The portrayal by James Stewart of vengeful,
tormented and embittered bounty hunter Howard Kemp in pursuit of murderer
Ben Vandergroat (Robert Ryan) for the $5,000 reward money in the Colorado
Rockies, and the conclusion in the midst of some roaring mountain rapids
when the captured and ruthless outlaw is killed and a maniacal, savage Kemp
vows his greater interest in the money to Lina Patch (Janet Leigh) as he
reels in the dead body: "I'm takin' him back. It's what I came after
and now I've got...He's gonna pay for my land... (the money) That's all
I care about. That's all I've ever cared about", in Anthony Mann's
beautifully-filmed, stylistic, and moralistic 'adult' western |
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|
Napoleon (1927) - The 3-part (triptych) wide screen
in the conclusion of this landmark epic silent film, by director Abel
Gance
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The Narrow Margin (1952)
|
The claustrophobic, tense atmosphere aboard
the moving, confining transcontinental Golden West Limited train (from Chicago
to L.A.) with the plotline of the escort of widowed gun moll and grand jury
witness Mrs. Frankie Neall (Marie Windsor) by incorruptible Detective Sgt.
Walter Brown (Charles McGraw), and the surprise character twists and secret
identities, the vicious fight scene in a cramped men's room, and the climactic
scene in which Brown's love interest - a golden-haired mother named Ann
Sinclair (Jacqueline White) [the real Mrs. Frankie Neill] (with her son
Tommy (Gordon Gebert)) was mistakenly (?) being held hostage by a mob hitman,
and Brown used the reflection of another train's window to gun down the
hitman without compromising her safety, in director Richard Fleischer's
noirish crime-drama, followed by director Peter Hyams' inferior remake Narrow
Margin (1990) starring Gene Hackman and Anne Archer |
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Nashville (1975)
|
The miraculous interweaving
and crisscrossing of the lives and destinies of 24 different characters
in a free-flowing tapestry or kaleidoscope - especially in the opening sequences;
the scene of folk singer Tom (Keith Carradine) seductively singing "I'm
Easy" to a crowd - with the camera slowly showing the face of aroused
audience member and married gospel singer Linnea (Lily Tomlin) in the back,
the humiliating bump-and-grind strip scene in which a humiliated and desperate
wannabe Sueleen (Gwen Welles) pulls socks-padding out of her bra, the scene
of star singer Barbara Jean's (Oscar-nominated Ronee Blakley) breakdown;
the unseen presidential candidate; and the concluding tragic and shocking
sequence at a country music festival/political rally at the Parthenon in
which Barbara Jean has just finished performing "My Idaho Home" and then
is assassinated - and quickly replaced with unknown performer Albuquerque
(Barbara Harris) who calms the crowd with "It Don't Worry Me", in director
Robert Altman's country-western character study |
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